I believe that femininity and power are not mutually exclusive.

 

Painting is how I express my complex feelings about being a woman. I find the physical act of painting hugely important, allowing tangible expression of these feelings. I tend to paint with marks that are gestural and intensely emotional; often brimming with rage. Abstract expressionist Joan Mitchell is a large influence for the abstract element of my work, and I feel a real connection to women artists, past and present. I especially align my practice with contemporary female artists like Kim Booker and Christina Quarles, to name a just a few.

 

The strong women in my life inspire me to create art, and to keep painting day after day. As a feminist, I’m passionate about equality and exploring themes of oppression and prejudice towards women. In my practice currently I’m working directly from depictions of women in art history, as well as delving into the asymmetrical power dynamics that have harmed the potential of female artists. ‘Why have there been no great women artists?’ by Linda Nochlin has been a pivotal text for me on this theme.

 

Visits to galleries in Italy have shaped my interest in art history, especially renaissance and baroque paintings in the Galleria degli Uffizi in Florence and Gallerie dell’Accademia, Venice. I find prominence of paintings of the female nude in these institutions is striking, especially when most female models are portrayed reclining or passive, at the mercy of the male artist’s gaze. I want to challenge this; my paintings are a feminist reclamation of the canvas.

 

By playfully exploring the union of strength and femininity, I reject on the status quo in both art history and society.

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Nicola Macey 2024